Ultimately, no matter how heated the exchanges between Martyn and his fans could be during concerts, the respect between audience and performer was total and it was loyal--the same punters who would complain the loudest would be at the very next show. It is for these people, those who knew his true worth as an artist who The Island Years was created for and will appeal to most.

My Name Is My Name is a remarkable and vital solo debut.

Swapping out the sonic and mental clutter for a host of centered, unconfused rock tunes is a curveball move, for sure, but the end product is the most memorable, lasting, and relatable albums in Of Montreal's extensive catalog, and easily one of the best.

By slowing things down a bit, they're able to let the knack for melody do a lot of the heavy lifting, giving the songs an airiness that's unlike any other electronic band out there. This makes The Speed of Things not only an excellent follow-up to their already stellar debut, but an album that you'd almost have to try not to like.

New is one of the best of McCartney's latter-day records: it is aware of his legacy but not beholden to it even as it builds upon it.

Somewhere between slumber party and rock & roll church service, Electricity by Candlelight captures a truly special moment in the life of one of American music's most valuable songwriters, and gives a warm and welcoming window into his own inspirations.

It's exciting and unique music, not falling neatly in with any of his dubstep/singer/songwriter peers or the large number of indie-leaning electronic producers.

Horseback makes extreme underground music from the mysterious South; this compilation is the indisputable proof.

Perhaps she's too subtle to be a stadium-filling superstar, but the superb 12 Stories showcases a unique artist who stands firmly, proudly on her own merits.

A gorgeous showcase that brings together everything you've ever loved about Wareham's music, Emancipated Hearts isn't just a mini-album, it's a minor masterpiece.

An album that's not only satisfying, but one of the band's strongest works to date.

The Devil Makes Three's most consistent and balanced album yet.

Here he successfully creates a convergence of harmonious and dissonant sounds, tensions and spaces, which reflect the subtleties in the complex emotions that construct such a powerful force.

With 17 incredibly complex songs clocking in at almost an hour, the San Fermin listening experience is a commitment, but one that rewards greatly.

There's a Dream I've Been Saving is a prime cultural artifact documenting a high point in an independent era in pop recording, production, and D.I.Y. aesthetics. It deserves a Grammy for content and design.

For serious listeners not content with the original vinyl and/or CD pressings, this excellent and thorough package is essential.

Who Is William Onyeabor? may not answer many biographical questions, but it does paint a superb portrait of the musician as a highly original creator and pioneer; it adds depth and dimension to the picture we have of African music during the era.

In time, it should be seen as a career highlight from a superstar--one of the hardest-working people in the business, a new mother, in total control, at her creative and commercial peak.

Even if Wig Out at Jagbags is quieter than, say, 2008's churning Real Emotional Trash, it feels looser than most of the Jicks records; the compositions are tight but the attitude is ragged, which winds up being more infectious and fun than albums where the songs drift but the instruments are tight.

If you're already a serious Mark Lanegan fan, Has God Seen My Shadow covers a lot of familiar ground, but the 12 unreleased tracks amount to an album's worth on unheard pleasures, and if you've never been introduced to Lanegan's music, this is beautiful, challenging stuff for those dark nights of the soul.

This remains some of their finest work to date, and whether you missed them back in the day or are updating your library, this set is a must.

It is to their considerable credit that Transgender Dysphoria Blues never sounds like the work of a band falling apart; if anything, they're reinvigorated, playing with a purpose lacking on 2010's softly unfocused White Crosses.

On Fuck Off Get Free We Pour Light on Everything, Thee Silver Mount Zion Memorial Orchestra sound more vital and musical than ever.

Ultimately, So Long, See You Tomorrow is highly engaging, thoughtful, kaleidoscopic pop music for citizens of the world.

From front to back, Blank Project is riveting uneasy listening.

It is searing, raw and lusty, tender, open and vulnerable.

It's a near flawless collection of dreamy vibes, shifting moods, and movement, and stands easily as Granduciel's finest hour so far.

The album is full of straightforward and jangly guitar pop, full of hooks and production turns that would feel at home on mixtapes of early-'90s underground alternative acts, the likes of which Pritchard himself belonged to and came up with.